ANNETTE HANSHAW & HER SIZZLIN’ SYNCOPATORS: Who’s That Knockin’ at My Door?
New York: September 1927
Perfect 12372 (mx. 107766 – ) Various works cite an undocumented recording date of September 8.
ANNETTE HANSHAW & HER SIZZLIN’ SYNCOPATORS: I’ve Got “It” (But It Don’t Do Me No Good)
New York: May 5, 1930
Velvet Tone 2155-V (mx. W 150388 – 3)
ANNETTE HANSHAW (as Dot Dare): Is There Anything Wrong in That?
New York: November 22, 1928
Diva 2792-V (mx. W 147483 – 3)
ANNETTE HANSHAW (as Patsy Young): I Want To Be Bad
New York: March 14, 1929
Velvet Tone 1878-V (mx. W 148077 – 2)
ANNETTE HANSHAW: I Think You’ll Like It
New York: October 28, 1929
Mx. W 149196 – 2 From a c. 1960s custom vinyl pressing of the original stamper.
No accompanying personnel are listed in the company files for any of these sessions, although experienced collectors will readily recognize Joe Venuti, Eddie Lang, Frank Signorelli, Benny Goodman, and others on various sides. Speculative personnel, based on aural evidence, can be found in our free download of Brian Rust’s Jazz & Ragtime Records (Personal-Use Edition, 1917–1934).
COON-SANDERS ORIGINAL NIGHT HAWKS ORCHESTRA (Carleton A. Coon and Joe Sanders, vocal):
I’m Gonna Charleston Back to Charleston
Camden, NJ: July 13, 1925
Victor 19727 (mx. BVE 32768 – 4)
Released: August 21, 1926 — Deleted: 1927
COON-SANDERS ORIGINAL NIGHT HAWKS ORCHESTRA:Brainstorm
Chicago (Webster Hotel): December 8, 1926
Victor 20390 (mx. BVE 37216 – 2)
Released: January 28, 1927 — Deleted: 1928
COON-SANDERS ORIGINAL NIGHT HAWKS ORCHESTRA (Leroy Shield, director):
Chicago (Victor Lab, 952 N. Michigan Ave.): June 25, 1927
Victor 20785 (mx. BVE 39065 – 3)
Released: August 19, 1927 — Deleted: 1934
COON-SANDERS ORCHESTRA (Carleton A. Coon, vocal): Bless You! Sister
Chicago (Victor Lab, 952 N. Michigan Ave.): December 12, 1928
Victor 21895 (mx. BVE 48726 – 2)
Regional Release: May 1929 — Deleted: 1931
COON-SANDERS NIGHTHAWKS: The Maytag Frolic, Parts 5 & 6 ..Bless You! Sister (Carleton A. Coon, vocal) ..Kansas City Kity (Joe Sanders, vocal) ..What a Girl! What a Night! (Joe Sanders, vocal)
Chicago (623–633 S. Wabash Avenue, 6th Floor): February 28, 1929
Brunswick unnumbered specials (mxs. XC 3024-A / XC 3025-A)
Rust’s Jazz Records shows a recording date of January 17, 1929, in error (the correct date, shown above, is from the Brunswick ledgers). This program was produced by Brunswick’s transcription division for its National Radio Advertising Company affiliate. In late 1928 or early 1929, Brunswick installed dual cutting lathes that allowed uninterrupted recording across sides, with “Kansas City Kitty” being a good example. It was split between two 12″ masters, but the break is noticeable only as a faint change in the level of surface noise. The dual lathes were also used in commercial record production, providing duplicate wax masters that could be destructively sampled on the spot, while sparing the originals. (Dubbing courtesy of the late Jacob Brown.)
Victor data are from John Bolig’s inspection of the original Victor documentation in the Sony Archive, New York. The Shield attribution on “Roodles” is missing from Jazz Records, American Dance Bands, and derivative works, but is confirmed in the Victor files (Shield was a Victor house conductor).
Not the popular New York World columnist of the same name and period, but a now largely forgotten radio singer and actress. At the time these recordings were made, Helen Rowland was being featured with Don Voorhees’ Maxwell House Ensemble over station WJZ. In December 1932, she was hired to replace Rosalyn Silber in “The Rise of the Goldbergs” radio show, only to be unceremoniously dismissed after Silber reclaimed her spot several months later. A nasty legal scuffle ensued, spearheaded by Rowland’s mother, and in July 1933 she was called back to replace a reportedly ailing Silber. But it was a Pyrrhic victory at best, with word of the Rowlands’ strong-arm tactics quickly spreading among radio executives, and her career largely stalled in the later 1930s.
These selections are from 15¢ Hit of the Week records, the history of which is covered in detail in Recording the ‘Thirties, available from Mainspring Press and many major libraries.
ERNO RAPEE’S ORCHESTRA w/ HELEN ROWLAND: River, Stay ’Way from My Door & Some Of These Days
New York: c. December 1931
Hit of the Week M-5-A-1 (mx. 1135 – C)
PHIL SPITALNY’S MUSIC w/ HELEN ROWLAND: When It’s Sleepy Time
New York: c. December 1931
Hit of the Week A-1-2 (mx. 1186 – B) Note: This transfer deletes the second track (“Sailing”), on which Rowland is not present.
FREDDIE RICH’S RADIO BAND w/ HELEN ROWLAND: You Call It Madness
New York: c. November–December 1931
Hit of the Week M-2 (mx: see note) Note: This transfer deletes the second track (“Auld Lang Syne”), on which Rowland is not present. All copies we’ve seen show M-218 (which probably is just a control number) in the mx-number position; mxs. 336, 364, and 1237 have all been reported in various works!
Radio Digest in the early 1930s had plenty of photos of white men in burnt-cork, doing the “Amos ‘n’ Andy” bit, but photos of actual black performers are a rarity. RD made an exception in November 1932, when it ran a two-page spread headlined “Darktown Harmonizers.” We’ll spare you the embarrassing text, but here are the photos, all of stars who also had a substantial following among white audiences. The Mills Brothers didn’t actually play the instruments noted in the caption; they imitated them vocally (and amazingly well).
.The first “Edison Hour” broadcast aired over WJZ on February 11, 1929. It was captured at Edison’s Columbia Street studio in Orange, New Jersey, which housed the low-speed recording equipment used to make these experimental airchecks (above). The recordings were made on 12” discs at 30 rpm, using a very thin ( .00379”) cutting stylus, and they survive at the Edison National Historic Site. The technical problems — most notably some severe speed fluctuations, and noise from a power tube that “went Democratic” in the words of the Edison engineer — are distracting at times but of relatively small concern considering the rarity of airchecks from this early period of American broadcasting.
The broadcast celebrated the birthday of Thomas Edison, who spoke briefly via relay from his home in Fort Myers, Florida, and also served to promote the new Edison radio, which had recently been introduced over the old man’s objections. Here are some of the most interesting excerpts. The first three selections are from Edison experimental mx. 185-A, the remainder from 185-B.
WJZ ANNOUNCER AND CHARLES EDISON: Opening Comments
THOMAS ALVA EDISON: Birthday Message
FRIEDA HEMPEL: The Last Rose of Summer
B. A. ROLFE’S ORCHESTRA: I Can’t Give You Anything But Love
BILLY MURRAY with B. A. ROLFE’S ORCHESTRA: Doin’ the Racoon